Nmccarthy

I'm really happy they made the 25-50mm with the almost exact same design as the 10-25mm. Hopefully they are the same weight so making the lens change on a gimbal would be incredibly easy

Has anybody done more research on this? I’ll be renting the camera out soon and want to see if it’s worth trusting the “dual iso.” I cant imagine there won’t be weird color artifacts, color shifts, or similar dynamic range if Sony isn’t advertising this. (Also happy new year!)

maybe this delay gives them enough time to get that organic sensor working for the gh6

To go even further, I always think about this interview/post from Hans Zimmer whenever I'm editing. "Of course you want to hit the cut! But... Sometimes you want it to be a little more relaxed and let it breath a little, so you go a few frames late. Or there is a big sound-effect on the cut, like a gun-shot. If you go a frame late, you'll get to hear both the impact of the sound-effect and the start of your music. If you want to jolt the audience, be a frame ahead of the cut. Works great in action scenes. But if it's a more 'poetic' scene, be late to the cut. 6 to 12 frames late make a huge difference to the "feel" of a scene. But you do need to start with software that makes it easy to scroll by frames, so that you have the artistic choice of how to approach the cut..." -Hz-

Yeah I'm really hyped for a gh6 for run and gun / doc work. Tbh I'm not sure why there needs to be some sort of protection for each type of camera (43 vs super35 vs FF). The lenses and application/workflow matter so much more that I don't get why any brand needs to consider cannibalization (looking at you canon)

I've used the GH4 for wingsuit and skydive filming and i can definitely recommend it. The slo motion is fantastic and it's small enough to fit on a helmet next to a gopro (if that's what you are planning)

Hard to say much from this comparison because of the lower white point on the red and the different lenses (a clean sigma vs vintage (canon?), so that might be where the softness and cast comes from). Also I couldn't figure out how to see the video description so I don't know how much correction was applied to each

well that's not really practical. that level of cgi can only come from pixar or dreamworks where the whole film is cgi. a skateboarding video with those lovely characteristics should be done in camera and that wouldn't be too difficult to do

ideally i would love to be able to download some ungraded side by side footage from the p4k and p6k. Working with the files in resolve and seeing how flexible it is in post (for fixing the mistakes i made while shooting) would be incredibly helpful

For me, the mount is what is holding me back from getting this cam. I don't own any EF lenses and would rather invest in PL or L/RF. The P4k w/ an adapter sounds great, but unfortunately the only PL lenses that works with the speedboosters are the CP2s

How's the video image in aps-c mode? I plan on using the s1 as a B-cam with super35 lenses so I'll have to crop in. Is there a drop post production latitude? But if 4k raw comes to the S1 (w/ the Ninja) then I'll definitely be getting it

I have the g7 too and love it. Right now I don't think i'll need to upgrade until the next-gen GX and GH cameras come out (especially when i'm still saving up for more panaleica lenses)

I found an article/DP showing off these lenses. There's a lot of crazy flare when its uncoated http://timurcivan.com/2019/07/an-examination-of-the-sigma-classic-primes/

How well do you think the S1 would pair with a RED? Our C-cam rn is a Sony A7Rii (for photos and video) and we're wondering if it's worth upgrading